VOL 166 Music Theory 2

Music Theory 2 Photocopiable worksheets and factsheets on Music Theory

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Music Theory 2 Worksheet

1

ALTO CLEF A clef fixes the pitch of notes on the stave. The alto clef is centred around the middle or 3rd line of the stave. This middle line tells the performer where the note middle C is found in this clef. Another name for the alto clef is the C clef.

C aaa

The main reason for using the alto clef is that it helps to avoid too many leger lines when writing music for instruments that frequently use the lower notes in treble clef and the higher notes in bass clef.

middle C

Originally the alto clef was used for the alto voice but is now commonly used for the viola. As you can see the range of the viola extends from the C below middle C right up to the C two octaves above middle C. This makes the alto clef convenient to use as the most usual notes played falls in the middle of this range.

w

Viola range

C w :A aaaaaa

aaaaaa

Practise drawing the alto clef on the empty stave.

2yuiop[]\as 2o[\ayisup] F

G

A

B

C

D

E

F

G

A

Write down the names of the notes below.

`444444444444444

Now rewrite these notes in treble clef at pitch. Watch out for the leger lines!


Name: ____________________


2

TENOR CLEF The tenor clef is centred around the 4th line of the stave. This 4th line tells the performer where the note middle C is found in this clef. Another name for the tenor clef is the C clef.

346

middle C

The most common instruments that use the tenor clef are the cello, bassoon and trombone.

As with alto clef, using the tenor clef helps to avoid having to use too many leger lines. This would happen when writing for instruments that have a range from the bass clef up to the lower end of the treble clef and so the tenor clef is used instead.

You can see from the diagram that the range of the cello extends from the C two octaves below middle C right up to top G in the treble stave. This makes the tenor clef convenient to use as the most usual notes played falls in the middle of this range.

w

1w444 44444 :A

Cello range

Practise drawing the tenor clef on the empty stave.

w

3yuiop[]4as 3pyi[\uoa]s D

E

F

G

A

B

C

D

E

F

Write down the names of the notes below.

`444444444444444 Now rewrite these notes in treble clef at pitch. Watch out for the leger lines!


Name: ____________________


3

TRANSPOSITION Transposition in music simply means changing the pitch of a piece of music without altering the relation of one note to another. If you look at the extracts below you will see that although the first one is in C major the intervals have stayed the same when it has been transposed up a tone into D major. The major thirds in the accompaniment are still major thirds in the transposed extract. The minor third in the melody line is still a minor third in the transposed extract. minor 3rd

major 3rd

minor 3rd

If you need to transpose a piece of music the most important thing to remember is that you must keep all the intervals the same as the original. It is particularly easy to forget to add a necessary accidental. If the key signature hadn’t been transposed in the extract above it might have been easy to forget the F and C sharps. On the empty stave below transpose the melody line of the C major extract down a tone. Try this with the key signature written in and then without using accidentals. On a separate piece of manuscript paper try writing out both parts a tone lower. The new key is:

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4

MODES The origins of the major and minor scales we know today can be traced back to the Greeks. They are called Ionian and Aeolian. The Greeks also had several other different scales apart from those now comonly used in Western music. They named these scales after different tribes and the principal scales were Dorian, Phrygian, Lydian and Mixolydian. These scales all had individual characteristics of whole tones and semitones. These tones and semitones were fixed in descending order and each had a related scale which started a fifth below the main scale. These scales were given the prefix hypo which means under. Dorian

Hypodorian

Lydian

Hypolydian

Phrygian

Hypophrygian

Mixolydian

Hypomixolydian

`\][poiuy `[poiuytr `][poiuyt `poiuytre

Early Christian musicians took these Greek scales and called them modes. The word mode actually means manner. These musicians ran the scales in ascending order starting on D, E, F and G. This changed the notes used dramatically. Compare the Greek scales above with the modes below. Dorian

Lydian

Phrygian

Mixolydian

`tyuiop[] ùiop[]\a `yuiop[]\ ìop[]\as

Write the correct modes below. Phrygian

Dorian

Mixolydian

Lydian

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5

DEMISEMIQUAVERS As you already know in music there are particular note shapes used to represent different time values. Demisemiquavers are very quick notes. If you look at the note pyramid below you can clearly see their value in relation to a semibreve.

h

w

1 semibreve

h K K K K LLLLLLLL MMMMMMMMMMMMMMMM

2 minims 4 crotchets 8 quavers 16 semiquavers

NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNNN

32 demisemiquavers

These very quick notes aren’t so common in music but usually occur as a result of double dots which can reduce the beat to smaller divisions. An even quicker note called a hemidemisemiquaver exists and there are 64 hemidemisemiquavers to one semibreve! A demisemiquaver rest looks like a semiquaver rest with an extra tail. Answer these questions true or false.

Y

One minim is worth 16 semiquavers Two quavers are equal to 8 demisemiquavers There are 32 semiquavers in one semibreve There are 24 demisemiquavers in a dotted minim One crotchet is equal to two quavers or eight demisemiquavers Now see if you can work out the answers to the questions below.

KKKK + KK + L =

K K K K K K K K +K K K K K K K K + K

crotchets +

K

=

minims


Name: ____________________


THE BREVE

6

42

A breve is worth twice as much as a semibreve. This means that it is equal to eight crotchets. It is most commonly found in early music or some hymns which use the time signature of . Strangely, the word breve comes from the medieval period, where it actually meant a short note. Over the centuries this has changed to mean the opposite. The breve

A breve looks similar to a semibreve but has a line either side of the note. Sometimes it is also drawn with two lines on each side.

or

The breve rest The breve rest is written between the third and fourth lines of the stave and is a small rectangle which sits on the third line. A breve rest is used to indicate a whole bars rest in the time signature of . For every other time signature a whole bars rest is indicated by a semibreve rest. A German Chorale melody using a breve.

444544

42

Fill in the chart below. breve

breve rest

semibreve

semibreve rest

minim

crotchet

J

K

minim rest

crotchet rest

quaver

quaver rest

W

semiquaver

demisemiquaver

N

semidemisemiquaver rest quaver rest

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7

BEAMING Beaming is simply the musical term for grouping notes together.The clearest way to beam notes together is to think of what will be the easiest to read when playing the music. The clearest 3 division is usually by the main beat. In a simple time signature like 4 this might mean grouping 9 notes into crotchet beats. In a compound time signature such as 8 this might mean grouping notes into dotted crotchets. Compare the two short extracts below. In the first all the notes are written separately. Whilst you can read the music of the first extract it is not so easy to see where the beat is. In the second you can see that the groupings make it much easier to read and count.

(

`4 R Q R RR K Q L M K L L L 4 M L LL A aaaaaaaaaaaaaa

When writing music remember that with notes below the middle line, the note tails are on the right pointing upwards, and that notes above the middle line have tails on the left pointing downwards. The middle line itself can have tails going either way. It is usually best to put the tail of the notes on the middle line going the same way as the majority of notes in that bar. Equally, if you have one note in a group which crosses over the middle line beam it with the majority of the other notes in its group. Avoid using tied notes unless you really need to. They are usually used when a note is sustained from one bar to the next.

(

`6 Q R Q . L K. Q L L L Q Q 8 L L M L . A L aaaaaaaaaaaaaa

Rewrite the extract below with the correct beaming.

`6 A8 aaaaaaaaaaaaaa www.keynoteseducation.com © 2004 Keynotes Education Crossgate Cornwall PL15 9SX This sheet may be printed from a personal computer and/or photocopied for educational use within the purchasing establishment

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Music Theory 2 Worksheet 8

DOUBLE DOTS A dot after a note means that it is held for the original value plus half as much again. A semibreve

w

w. w h

= 4 crotchets

therefore a dotted semibreve

=

+

4

+

= 6 crotchets

2

A double dot means that you add half the value plus half the value again.

Therefore a double dotted semibreve

w.. w h q =

+

4

+

= 7 crotchets

+ 2 + 1

See if you can work out the value of these notes. Circle the correct answer.

q.. h..

A double dotted crotchet

A double dotted minim

= 7 semiquavers

=

4 quavers

5 semiquavers

7 quavers

9 semiquavers

8 quavers

Write down the answers in the spaces provided.

A double dotted quaver

e.. w..

A double dotted semibreve

=

demisemiquavers

=

quavers

Add in the double dots where needed to makes these bars complete.


Name: ____________________


9

MUSICAL TERMS FACTSHEET This quick reference page contains a selection of some of the most common musical terms and symbols along with their meanings.

TEMPO

OTHER TERMS

largo

slow and stately

rf or rfz

larghetto

slightly quicker than largo

(rinforzando)

lento

very slow

fz (forzando)

with force

adagio

slow

andante

walking speed

sf or sfz

loudly accented

andantino

quick walking speed

moderato

moderate speed

allegretto

quite fast

allegro

fast and lively

presto

fast

prestissimo

very fast

heavily accented

(loudly accented) D.C. (da capo)

go back to the beginning

D.S. (dal segno)

sign ten. (tenuto)

CHANGING TEMPO

b

go back to the

hold the note

DYNAMICS

accelerando

get faster

molto pianissimo ppp

extremely quiet

ritardando

gradually slow down gradually slow down

pianissimo

pp

very quiet

piano

p

quiet

rallentando (rall.)

mezzo piano

mp

quite quiet

mf

moderately loud

allargando

broader

mezzo forte

ritenuto (rit.)

slow down

forte

f

loud

piu mosso

more movement

fortissimo

ff

very loud

meno mosso

less movement

molto fortissimo

fff

extremely loud

a tempo

return to the previous speed return to the original speed

crescendo

<

gradually get louder

diminuendo

<

gradually get quieter

tempo primo


Name: ____________________


METRONOME MARKINGS & TEMPO INDICATIONS The metronome was invented by a man named Maelzel who lived from 1772-1838. It was designed to ensure that strict time was kept when playing a piece of music. Early metronomes were wound up and then ticked like a clock at a steady beat set by moving a sliding bar up and down. When you see a metronome marking it is usually written like this: M.M. q = 60 . This means that there are 60 crotchet beats in one minute. This would be equal to one crotchet every second. The M.M. stands for Maelzel’s Metronome. Today metronomes come in all shapes and sizes but the basic principal is the same. Using a metronome when practising can be a useful method of making sure that you keep accurate time. Equally, if you are composing, adding a metronome marking can help to ensure that the music is performed at the correct speed, as it is more precise than simply writing adagio, andante, allegro etc. The beat indicated by a metronome does not have to be a crotchet. Sometimes you may wish to indicate the beat of minims or quavers. These would follow exactly the same format but the crotchet would be replaced by the note value you want to use. Below are two examples. M.M. e = 44

44 quavers in one minute

M.M. h = 56

56 minims in one minute

The number of beats per minute roughly correspond to the different musical terms as shown in the table. Work out the musical term that corresponds q = 40 - 60 largo to each tempo indication.

larghetto

q = 60 - 66

M.M. q = 64

q = 70 - 76

M.M. q = 120

q = 66 -70

lento adagio andante andantino moderato allegretto allegro

q = 76 - 90

q = 90 - 108

q =108 - 116

q = 116 - 125

prestissimo

M.M. q = 86

q = 125 - 168

M.M. q = 132

q = 200 - 208

M.M. q = 100

q = 168 - 200

presto

M.M. q = 144


Name: ____________________


IRREGULAR TIME SIGNATURES A time signature fixes the number of beats found in each bar. We are used to time signatures using duple, triple or quadruple time. The time signature helps us to see where the strong and weak beats fall in the bar. In irregular time signatures the number of beats in a bar are usually in groups of five or seven (quintuple or septuple). It is perhaps easiest to think of them as a combination of duple and triple time. For example 3 + 2 = 5, 3 + 4 = 7, or 2 + 3 + 2 = 7. The notes are grouped to reflect these combinations. In theory you can choose any number of beats in the bar. However, in practise composers tend to use five, seven or occasionally eleven. More than this becomes very difficult to read. Irregular time signatures are very common in eastern European and Asian music. Composers such as Stravinsky and Bartók frequently used irregular time signatures in their music. Bartók in particular was strongly influenced by Hungarian folk music and often used folk tunes and rhythms in his compositions.

54

The English carol This is the truth sent from above is written in time. Try singing it to yourself and see how the words and music naturally fall into a pattern of 2 + 3. etc.

Occasionally you might see a dotted bar line dividing part of a bar in an irregular time signature. This is to clarify where the composer wishes the accents to fall. Answer the questions below.

54

52

means

crotchets in a bar

means

minims in a bar

74 72

means

crotchets in a bar

means

minims in a bar

Now try to identify the time signature in this extract.


Name: ____________________


DUPLETS A duplet, like a triplet, is an irregular note group. A triplet is three notes played in the time it would usually take you to play two. It is found in music written in simple time where the beats can be divided by two. A duplet is the opposite, two notes played in the time it would usually take you to play three. It is found in compound time signatures. This is easiest to understand by looking at the two extracts below.

68 consists of two dotted crotchets.The duplet 34 consists of three crotchet beats. The triplet

has two quavers played in the time it would normally take you to play three quavers

has three quavers played in the time it would usually take you to play two.

If you are playing a triplet or duplet divide them equally in proportion to the main beat. Using a slur or a square bracket above the notes that are part of the duplet or triplet make it easier to read. Study the extracts below and add in the duplet or triplet signs where needed to make the bars add up correctly.

No try and compose two four bar phrases one in simple time using a triplet figure and one in compound time using a duplet figure.

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Adding a sharp

D


DOUBLE SHARPS to a note raises it one semitone.

H

A double sharp raises a note two semitones which is equal to one whole tone. A double sharp looks rather like a cross . If you look at the piano keyboard below you can see that G the note G and actually sounds the note A.

H

is one whole tone higher than

G natural

FD

D

G double sharp (sounds A natural)

If you want to cancel a double sharp use a single sharp sign . Although some composers use a natural sign followed by a single sharp like this . Double sharps are usually only found in keys that already have several sharps. Try drawing in a double sharp before each of these notes. Make sure it is in the space or on the line that you want to apply it to!

`55i55t55p55e55o55]55y

In the scale of G sharp harmonic minor the leading note becomes F double sharp. This is because F sharp is already found in the key signature and so to raise this seventh note half a step higher requires the double sharp.

DDDD

H

`44i5o5p5[5]5\5a5s5 `66 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 6 D

Rewrite this scale out using accidentals and not the key signature.


Name: ____________________

Adding a flat

E


DOUBLE FLATS to a note lowers it one semitone.

G

A double flat lowers a note two semitones which is equal to one whole tone. A double flat looks like two flats joined together . If you look at the piano keyboard below you can see that B the note B and actually sounds the note A.

G

is one whole tone lower than

B double flat (sounds the note A)

FE

E

B natural

If you want to cancel a double flat use a flat sign . Some composers use a natural sign followed by a single flat like this . Double flats are usually only found in keys that already have several flats. Try drawing in a double flat before each of these notes. Make sure it is in the space or on the line that you want to apply it to!

`55i55t55p55e55o55]55y

Answer these questions.

B double flat sounds the note

C double flat sounds the note

F double flat sounds the note

G double flat sounds the note

D double flat sounds the note

E double flat sounds the note

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AUGMENTED AND DIMINISHED INTERVALS An augmented interval occurs when a perfect or major interval is made a semitone bigger. A diminshed interval occurs when a perfect or minor interval is made a semitone smaller. The chart below shows all the intervals available up to an octave starting on the note C.

Perfect Intervals Major Intervals Minor Intervals Augmented Intervals Diminished Intervals

`55rr55 `55r5555 `55r5555 `55r5555 `55r5555 w

E w

Dw

Ew

`555 5 `555 5 `555 5 `555 5 `555 5 w w w w

E ww

D ww Ew

w

Try to recognise the intervals below. Use the keyboard to help you. It may help to work out the number of semitones in each interval and always include the notes you start and finish on!

`555 5 `555 5 `555 5 `555 5 `555 5

`555 5 `555 5 `555 5 `555 5 `555 5 w w

w w

w w

w w

Ew

Ew

w

w

Dw

Dw

w

w

Gw

Gw

w

w

G A B C D E F G A B C D E

w Dw

`555 5 `555 5 `55r5555 `555 5 `555 5 w w

D ww

w

w w

w w

`555 5 `555 5 `5555555 `555 5 `555 5 D ww

Ew w

w w


ww


Name: ____________________

CHROMATIC SCALES If you start on the note C and play all the notes from C up to the C an octave above you get a pattern of twelve semitones, this is called a chromatic scale. A chromatic scale can go up or down and start on any note. Usually when writing a chromatic scale the notes are sharpened on the way up and flattened on the way down. The word chromatic actually means coloured and the scale is often used to add colour in a piece or to demonstrate a performer’s technique. It was particularly popular during the Romantic period.

`rrttyuuiioop[ppooiiuyyttr D

D

D

D

D

E

E

E

E

Write an ascending chromatic scale starting on D.

E

`t44444444444444 à44444444444444 `444444444444444 `444444444444444 Write a descending chromatic scale starting on F.

Write an ascending chromatic scale starting on G.

Write a descending chromatic scale starting on E.


Name: ____________________


CHORD INVERSION A chord is a group of three or more notes played together. Three notes played together form what is known as a triad. There is a triad for every note in every scale. These triads are made up from the starting note plus the note a third above, plus the note a fifth above the starting note. Below you can see the triads formed in the key of C major.

w w w

w w w

w w w

w w w

w w w

1V

V

V1

V11

I

`55554444444444444444455 w w w 1

w w w

11

w w w

111

When you play a piece of music the notes of the triad are not always arranged in the same order. This is called inversion. If you look at chord I in C major there are three main positions for the notes. These three positions are called root position, first inversion and second inversion. If you are using Roman numerals these positions become a, b and c. The important note when working out the inversion is the bottom note as this tells you which inversion the chord is in. Check whether it starts on note 1, 3 or 5 of the chord.

w w 5w

w w w

`5555444444455 `5555444444455 w w 3w

w w 1 w

root position on C (1)

first inversion on E (3)

second inversion on G (5)

w w w

Chord 1a

w w w

1b

1c

in C major

Sometimes when writing a chord in root position the a is dropped as everyone knows it is a root position chord. In the chord above it would be equally correct just to write 1 rather than 1a. Try to work out these chord positions. Write them down in Roman numerals. The first one is done for you. They are all in the key of C major.

`555545 `555545 `555545 `555545 `555545 `555545 `555545 `555545 w w w

w w w

w w w

w w w

w w w

w w w

w w w

11b

w w w


Name: ____________________


SEVENTH CHORDS - DOMINANT SEVENTH Many common chords are simply made up from triads which use the root note plus the third note, plus the fifth note. To make chords a little more interesting or unusual sometimes composers add in the seventh note. The most common seventh chord is the dominant seventh. This sounds horribly complicated but is really quite straightforward. The fifth note of the scale is called the dominant. If you are in C major the dominant would sound the note G. The dominant seventh in C major is a chord built on this G. The dominant seventh starts off the same as any triad using the starting note plus the third note, plus the fifth note but then adds on the seventh note. This means you end up with the notes G, B, D and F.

w w w w

`555545

dominant seventh chord in C major

Just as we use Roman numerals for ordinary triads you can do the same for dominant sevenths. This chord in C major would be written like this:

w w w w

`555545 V7

In ordinary triads if we change the position of the chord indicate it by saying root position, first inversion or second inversion. If we are using Roman numerals we might say a, b or c. In a chord like a dominant seventh which has four different notes we simply add in third inversion and in Roman numerals the letter d.

w w w w

w w w w

ww w w

w w ww

`555545 `555545 `555545 `555545 V7a root position

V7b first inversion

V7c second inversion

V7d third inversion

Write the four positions for the dominant seventh chord in G major and D major. The first one has been done for you.

`55”55545 `55”55545 `55”55545 `55”55545 `55”5È545 `55”5È545 `55”5È545 `55”5È545 w w w w

V7a



Name: ____________________

MODULATION If music always stayed in the key it started in it would be rather boring to listen to. Most pieces move to a new key at some point even though it will usually work its way back to the original key by the end of the piece. This is called modulation. The word modulation comes from the Latin verb to adjust. The easiest way to change key is by using a pivot chord. A pivot chord is one that is found in both the old key and the new key.The C major tonic chord based on the note C could also be seen as the dominant chord in F major, or the subdominant chord in G major. If you wanted to move to the key of G from C major you could treat the C major chord as the subdominant in the new key. Use this chord to then move to the dominant in the new key (a D major chord). From there you can move easily to the tonic chord of G. See how the note C relates to the different keys in the scales below. Tonic in C

Subdominant in G

Dominant in F

`rtyuiop[ ìop[]\”as ùioŸp[]\a Study the extract below and see how Bach changes the key from A major to E Major by using the dominant chord in A major (E major) as the tonic chord in the new key. By adding in the D sharps which are found in the new key, Bach fixes E major as the new tonic key. Introducing flats or sharps that are found in the new key are a great clue to modulation. Write them down in order to help you work out the new key.

Work out what key this piece modulates to before returning to the original key. Key:

Key:

Key:


Name: ____________________


PASSING AND AUXILIARY NOTES A passing note as the name suggests doesn’t form a part of a chord it just passes between notes which are found in the harmony chords, linking them together. Passing notes are usually found on the weak beats of the bar and move by step. The passing note always falls between two notes moving in the same direction and can occur in any voice part. Bach

= passing note

An accented passing note falls on the strong beat of the bar but unaccented passing notes which fall on the weak beat of the bar are more commonly used. unaccented passing note

An auxiliary note is written between two notes of the same name. An upper auxiliary note moves one step higher than the original note and then returns to it and a lower auxiliary note moves one step lower than the original note and then returns to it. An auxiliary note can either move a tone or a semitone.

accented passing note

upper auxiliary notes

lower auxiliary notes

Find the passing and auxiliary notes in the extract below. Write P for the passing notes and A for the auxiliary notes.



Name: ____________________

SIGNS FOR REPETITION Often in music you will find various signs for repeating sections of a piece. This means that rather than writing out every repeat and adding many pages to the score you simply follow the signs. There are various signs in music to show that the music needs to be repeated. These may be used to show a repeat of a whole piece, a section or even particular musical notes in a bar. These vary quite widely and some are easier to work out than others! If you want to repeat one section exactly then drawing a double bar line with two dots either side of the middle line is the easiest way. Place one where you are starting the repeat and the other in the bar where you want the repeat to stop. Usually this is at the beginning and end of the bar but it can be put anywhere in the bar. You will still need to add in the barline if it is midway through the bar to make the bar add up correctly. If you are repeating back to the beginning of a piece then you can leave out the first set of dots.

55555555555

{

repeat between these two points

55555555555

{

If the music changes the second time through you will need to draw in a first and second time bar, so that the performer knows where the music goes to. This is shown in the example below.

1

44

.

2

`5()vv5bWQ+F55_(5 }

A first and second time bar can extend over one or more bars and you simply extend the line to show how many bars.

g

Sometimes in music you see the words Da Capo or D.C. for short. This means from the beginning. The end of the music is then shown by the word Fine and/or a pause mark .

b

g

Dal Segno or D. S. means from the sign. You return to the point in the music marked with the sign and then play to the word Fine or the pause mark . If there is a coda you may see the phrase D al coda which means you repeat back to either the beginning or the sign until you see the different sign which means that you then play the coda to finish the piece.

b

n


b


Name: ____________________

PERFECT AND IMPERFECT CADENCES The most important chords in any scale are the chords built on the tonic (1), subdominant (1V) and the dominant (V) notes. These chords are called primary triads. The ends of phrases frequently use these chords in various combinations and these are called cadences. A perfect cadence or full close uses the combination of the dominant chord (V) to the tonic chord (1). A perfect cadence is the musical equivalent of a full stop. When writing out chords you often need to double one of the notes to make a four part chord. This is based on the four voices soprano, alto, tenor and bass. To make the fourth note you need to double one of the notes, usually the root or fifth. It is best not to double the third note of the chord as this can sound weak.

hH

qQ C major

h H

q Q

15444444 V

A minor

1

q Q

h H

D qQ

h H

V

1

15444444

An imperfect cadence or half close is the chord progression from any chord to the dominant chord (V). The most common chords that precede it are chords II, IV,VI or I.

qQ C major

hH

q Q

h H

15444444 1V

A minor

V

Qq

D hH

1

V

q Q

h H

15444444

Try to identify the cadences below and write perfect or imperfect in each box. G major

D qQ

q Q

hH h H

D major

qQ q Q

D hH

h H

B Minor

D D qQ D D qQ

h

DH

h H

C Major

qQ q Q

hH h H

15444444 15444444 15444444 15444444 www.keynoteseducation.com © 2004 Keynotes Education Crossgate Cornwall PL15 9SX This sheet may be printed from a personal computer and/or photocopied for educational use within the purchasing establishment


Name: ____________________

PLAGAL AND INTERRUPTED CADENCES A plagal cadence is the move from the subdominant chord (1V) to the tonic chord (1). Sometimes people call the plagal cadence the Amen cadence because it is commonly used in church music. This makes it quite easy to recognise.

C major

qQ

h H

q Q

qQ

15444444 1V

h H

A minor

1

q Q

hH h H

15444444 1V

1

An interrupted cadence is the move from the dominant (V) to the submediant (V1). Again this chord is quite easy to recognise as this move has a surprise feel to it. It is the most obviously unfinished of any cadence.

C major

h H

qQ q Q

Hh

15444444 V

A minor

V1

D qQ

q Q

Hh h H

15444444 V

V1

Try to identify the cadences below and write plagal or interrupted in each box. G major

D qQ

q Q

h H

B flat major

E E qQ

Eh H

F sharp Minor

D qQ

q Q

D hH D D hH

D Major

D qQ

q Q

h

DH

hH

15444444 15444444 15444444 15444444 hH

E qQ

E hH


Name: ____________________


PHRASING Phrasing is a vital element in any piece of music. Without phrasing the music can become one long rambling sentence with no punctuation! When composing you should try to think about the structure of your musical line whether rhythmic or melodic. As a performer too it is important to decide how you wish to phrase a piece as this will affect the way the music sounds to an audience. The end of a phrase is usually created by a cadence. Cadences act as a natural form of musical punctuation. When you are composing always consider the instruments that you are writing for so don’t write a vocal line with no thought to where the singer can take a breath! In some modern compositions you may want a deliberately unbalanced melodic line. However, generally speaking it is best to try to balance your musical phrases. Often musical sentences are composed in eight bar sections consisting of two groups of four. Look at the music example below from Beethoven’s 9th Symphony. Draw in where you think the phrase marks should be. These marks should be a curved line above the notes in each phrase.

å

DD DD

q q q q q q q q q q q q q. e h q q q q q q q q q q q q q. e h

Notice how the melody and rhythm are almost identical. But by simply moving the last three notes down a tone Beethoven has created a perfect cadence which makes the second phrase sound complete. Now write your own eight bar melody below. Try to make it balance into two four bar phrases.

å


Name: ____________________


ARTICULATION There are several signs for showing how you wish notes to be grouped or phrased. These are called articulation marks. One of the most common articulation marks is the slur which looks likes a short phrase mark. The main difference between a slur and a phrase mark is that the phrase mark covers the whole phrase and a slur is usually used between two or three notes. A slur shows that the notes need to be played smoothly as a group. Don’t confuse it with a tie!

Slur

A staccato sign is indicated by a dot either above or below a note. The word staccato means detached and indicates that the note must be shortened to create this effect. Obviously in a slower piece the note will not be as short as in a quicker one as there is more time to play the notes!

Staccato

Staccatissimo

If you want the note to be played very short, detached and accented then you would draw a wedge shaped dash above the note. This is called staccatissimo. The opposite of staccato is tenuto. The word tenuto comes from the verb to hold. This is sometimes written as ten. and is indicated by a short line. If something is marked tenuto then it needs to held for their full value and sometimes even a little longer.

Tenuto

Identify the articulation marks in the extract below.


Name: ____________________


SHORT SCORE Often when writing for soprano, alto, tenor and bass voices instead of using a separate stave for each part two staves are used. This is called short score. The soprano and alto lines are written in treble clef and the tenor and bass in bass clef. Using short score saves a lot of space on the page but does tend to mean that you need rather more leger lines! When writing in short score the main thing to remember is that the traditional approach to which way the tails of the notes go no longer applies. The soprano part is written with the tails pointing upwards and the alto with tails down. This is the same in the tenor and bass parts. The tenor part will have tails up and the bass part tails down. It is also important to realise and remember that if you write an accidental in a bar for one voice part it does not apply to any of the other parts.You will need to write them in for each part. Obviously if there is a key signature these accidentals would apply to all. Be careful when writing the tenor part as it will need to be written an octave higher than in open score. Bach

Compare these same bars in open score and short score.

Rewrite the extract below in short score on manuscript paper.


Bach

Name: ____________________


OPEN SCORE In an open score each vocal line has an individual stave. The soprano and alto parts are written in the treble clef and the bass part is written in the bass clef. The awkward part is the tenor line. The tenor part is written in treble clef but an octave higher than it is actually sung. The sign to indicate this is a treble clef with a number eight attached to the bottom. The usual rules for the way that the tails are positioned up or down apply unlike in open score where the direction of the tail is dependent on the voice part. If you are writing parts out in open score group them together with a bracket and a line joining the staves together. This makes it clear where each line of music ends and the next begins. Usually the soprano, alto, tenor and bass parts are indicated by an S, A, T, B or Soprano, Alto, Tenor and Bass at the beginning of the first stave. Always try to line the parts up vertically in beats as far as possible so that the score is clear for both vocalist and conductor/accompanist. Byrd

On a sheet of manuscript paper write this music out in open score.


Name: ____________________


WRITING FOR BRASS When writing for any instrument it is important to bear in mind the range of notes that can be played and that when writing at the very top or bottom of the range these notes can be quite difficult to produce. This might be fine for a professional musician but no good for a relative beginner! A complication in writing for Brass instruments is that the horn and trumpet are transposing instruments. This means that the note written is not the same pitch that the instrument sounds. Music for the F French horn is written in both treble and bass clef and is written a perfect fifth higher than it sounds. The trumpet is usually pitched in either C, B flat or A. If you are writing for a C trumpet you don’t need to transpose the notes. If writing for a B flat trumpet, which is the most common trumpet, then the notes are written a major second higher than they sound. If the trumpet sounds a B flat when playing the written note C the distance between what is written and what is heard is a major second so this is the interval of transposition. If writing for an A Trumpet you would write the music a minor third higher than it sounds because when the music says a C the instrument sounds the A a minor third below. If you don’t remember the transposition you will have major problems when the instrument comes to play with another instrument!

Tuba pitch sounds as written

Trombone pitch sounds as written

Horn in F pitch sounds a perfect fifth lower

The tone on brass instruments can be altered by using a mute. The usual musical direction for indicating this is con sord. and senza cord. when you no longer want the mute to be used. B flat Trumpet pitch sounds a major second lower

Horn players sometimes insert their hand into the bell of the instrument to alter the sound and this is called stopping. It is indicated by a small + over the notes and then a to cancel it.

o


Name: ____________________


WRITING FOR STRINGS (Part 1) As with any instrument the first consideration when writing for strings is to consider the pitch range of the instrument. It is also important to remember that in string writing a phrasing slur often shows the number of notes to be played in one bow rather than indicating the musical phrase shape. To indicate the direction of bowing use one of these two signs.

downbow

upbow

When string players play a note without pressing their fingers on the fingerboard it is called an open string. Once the player presses down on the fingerboard this shortens the length of the string and it is said to be stopped. A different sound colour can be produced by playing a note on a different string. If you wanted to specify the string to be used this would be done by the phrase sul A, sul D etc. If two notes are played on the same string the performer would usually use two different fingers. If you wanted them to slide between the notes using the same finger you can draw a line between the two notes. This is called portamento.

`6555555 q q

If you want the string player to pluck the string rather than bow it use the word pizzicato or pizz. To return to playing with the bow the word arco is used. If a player plays alternating bow strokes on single notes this is called a bowed tremolo. This is shown by three lines above or below the note for semibreves, three lines through the tail of the note if it is a minim or crotchet, two lines through the tail of the note for quavers and one line through the tail of the note for semiquavers.

wh q

etc.

A double stop on a stringed instrument is when more than one note is palyed at the same time. Stringed instruments can only physically sustain two strings at once but you can play a three or four part chord by bowing quickly across the strings.


Name: ____________________


WRITING FOR STRINGS (Part 2) By lightly playing the string at set points along the string a series of natural harmonics can be produced. The set points where these faint secondary sounds vibrate in addition to the main note are called nodes. If these are played on an open string it is called a natural harmonic. If you firmly press down the string, this is called stopping, and then play at one of the set points it is called an artificial harmonic. These are indicated by the signs below. Harmonics are not loud clear notes but they produce more of a colour to the note.

oq

natural harmonic

Oq

artificial harmonic

As with any instrument the first consideration when writing for strings is to consider the pitch range of the instrument.

Violin pitch

Cello pitch

Viola pitch usually written in alto clef

Double bass pitch the double bass sounds an octave lower than written

Col legno (Italian meaning with wood). Use the wood of the bow to play. Sul ponticello (Italian meaning on the bridge). Bow as near to the bridge as possible. This makes a scratchy, creepy effect. Sul tasto (Italian meaning on the fingerboard). Bow over the fingerboard. This creates a very mellow sound.


Name: ____________________


WRITING FOR WOODWIND The cor anglais, clarinet and saxophone are transposing instruments. The cor anglais sounds a fifth lower than it is written which is relatively straightforward. However, there are several different pitches of clarinet available. The C clarinet is commonly used to introduce young people to the instrument and does not transpose. The B flat clarinet like the B flat trumpet sounds a major second lower than written and the A clarinet sounds a minor third lower than written. The saxophone comes in four sizes. The B flat soprano sounds a major second lower than written, the E flat alto sounds a major sixth lower than written, the B flat tenor sounds a an octave plus a tone lower than written and the E flat baritone sounds a full octave plus a major sixth lower than written. If you are writing for the piccolo remember that it sounds an octave higher than written. This helps to avoid too many leger lines. The range for the piccolo is nearly the same as the flute but sounds one octave higher. The lowest note on the piccolo is a D rather than a C as on the flute.

Flute pitch

The actual written range of the saxophone is the same for all four sizes although the actual note produced varies depending on the instrument size.

( ) Oboe pitch

Clarinet in B flat pitch as it sounds

Cor anglais pitch as it sounds

Saxophone pitch as written

Clarinet in A pitch as it sounds

Bassoon pitch



Name: ____________________

WRITING FOR PERCUSSION The percussion section of the orchestra is one of the most varied with a vast range of instruments to choose from. Percussion instruments fall into two categories tuned and untuned. Tuned percussion instruments are capable of producing a pitched note whilst untuned percussion instruments produce an effect rather than an identifiable pitch. The main percussion instrument found in the orchestra is the timpani or kettle drums. These are usually played in groups of two or three and each drum has a range of around a fifth. The tuning for timpani is usually stated at the beginning of a piece of music and you can use a key signature if you wish. If you need the drums to change pitch during a piece then the Italian phrase muta, meaning for change, is written followed by the note it is changing from and the new note required (e.g. muta A in B ). Timpani parts are written in bass clef. If you want to show a drum roll then it is written rather like an extended trill above the note you want it to affect.

or occasionally

(

1555p55555p555

1555p55555p555

(

xmmmmmmmm

The vibraphone sounds at the pitch it is written, whilst the xylophone sounds an octave higher and the glockenspiel two octaves higher than written. All are written in treble clef. The tubular bells are also written in treble clef. Untuned percussion parts are usually written on a single line although you can use a five line stave if using several instruments and give each one a particular line. When writing for snare drum if you don’t wish the player to use the snare the marking is without snares, scordato or senza corda. If writing cymbal there are two main technical terms to remember. Laisser vibrer is the first which means that the cymbal should be left to vibrate until the sound has died away and sec is the second which means that the sound should be cut off. Both terms are French.

!@£$%^&*()_ There are also many visual signs that are used to indicate change of beater or effect as above. Obviously using a different beater will affect the sound the instrument produces and percussion instruments are quite flexible in this way.


Name: ____________________


WRITING FOR VOICE When writing for voice it is important to consider both the range of the voice you are composing for and also the basic practicality of letting the vocalist breathe! When providing guidelines for the range of the various voice parts you should bear in mind that these are a little more approximate than with some other instruments. People come in all shapes and sizes and so of course some can sing higher or lower than others. This is particularly true of professional singers who may have a much greater range than the average person. As with any instrument, if you constantly write a voice part at the very top or bottom of the range it can be very difficult to sing accurately, so pitch the music carefully. The range of the human voice has several parts to it which are called registers. The chest voice producing a different tone to the head voice. These terms refer to the different position of the notes within a singers range and the different way the sound is produced. The head voice tends to be lighter than the chest voice. In most singers there is a point where the two cross over from the lower notes to the higher. This is referred to as a break and ideally the singer should be able to cross between the two without an obvious change of tone. This break can be more noticeable in male singers with untrained voices.

Soprano range

Tenor range

Alto range

144`55

Bass range

15t555f

There are four other voice types to consider when writing vocal music as shown below. Treble - the term used to describe children's voices, particularly boys before their voice breaks around puberty. This is roughly equivalent to the soprano voice range. Baritone - which falls roughly between the ranges of the bass and tenor parts. Mezzo-soprano - which falls roughly between the ranges of the alto and soprano parts. Counter tenor - a male alto. The term alto refers only to female singers.


Name: ____________________


GRAPHIC NOTATION Traditionally music has been written down using a stave, clef and a clearly defined system of symbols to represent the pitch and value of notes. Since the 1950’s some musicians have tried to find new ways to write music down. This is commonly called graphic notation. In graphic notation symbols are used to indicate the musical line instead of rigidly defined notes. This allows for great flexibility and is often easier for people to read and relate to. It can be particularly useful when writing for young people who are not so familiar with musical terminology. Look at the symbols below and consider the following questions. 1. What instrument does each suggest to you? 2. Does each one suggest a particular rhythmic pattern? 3. Which notes do you think would be louder? 4. Which symbols might indicate a change in pitch?

Graphic scores can be very colourful but you should be careful when composing graphic notation to be as clear as possible and ensure that you still think about the overall balance and structure of the piece. Always consider whether someone else can understand what you intend them to do. You may want to include a list of the instruments you want the performers to use. Of course, one of the interesting things about graphic notation is that it is more open to individual interpretation and this may be the reason that you choose to use it. Experiment with different signs and symbols to notate a piece of music. You could choose a theme such as a journey, the seasons, or just pick a particular mood to explore. www.keynoteseducation.com © 2004 Keynotes Education Crossgate Cornwall PL15 9SX This sheet may be printed from a personal computer and/or photocopied for educational use within the purchasing establishment

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VOL 166 Music Theory 2

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